In Anne Teresa de Keersmaeker's early work, the logic of her choreography felt nailed to the stage: you sensed the force of her will and her intellect in every rigorous move. In Zeitung, created last year, her approach seems to have loosened up. Not only is the structure of the work more open and the dancing more freely styled, but some of its material is left to the Rosas dancers to improvise.

It's a piece exploring the myriad ways music and dance connect. Pianist Alain Franco creates an intriguing soundscape out of Bach, Schoenberg and Webern; the focus shifts from the immediacy of his live playing to the distancing effect of recordings. In a similar way, De Keersmaeker varies the intensity of her choreography. Some of it zones directly into the music, like one riveting solo created out of interlocking circular moves, which translates sound into pure design. Some of it drifts to the opposite extreme, most obviously the long impromptu sections during which the dancers look as though they're grooving around their own sitting rooms.

In between, we hear music played without dance, we see moves performed in silence. At two hours without a break, Zeitung is an exhaustive and exhausting piece, but sometimes the length feels justified. A fraught, shivery group dance, that seems to have been conjured out of the exact emotional texture of the accompanying Schoenberg, catches us powerfully, and movingly, by surprise.

But there are also tracts of time when nothing new or significant appears on stage. For De Keersmaeker, everything in this meandering piece is presumably grist to her own exploratory process. And the expectation that we will sit it out with her makes it clear she's become no less demanding with age.